在汉城郊外，小美独自一人的青年余永元（韩石圭饰），小美经营着一家从父亲接过来的小照相馆。他时常带着微笑，坦然面对生活，照相馆里挂着不同的照片。女交警金德琳（沈银河饰）由于工作的关系，每天都要到照相馆冲洗照片，由此认识了老实的永元。有时候她会抱怨照相馆门开得太晚，显得那么天真可爱，他们一起撑伞散步，讲些琐事，日久生情，永元与德琳都发觉自己不可收拾地爱上了对方。但永元却有着难言之隐，不能直诉给德琳。季节更替，八月过去。见不到永元的德琳写信给他，塞在照相馆的门缝中。冬天的雪地里，德琳在闭门的照相馆橱柜中，见到自己的照片……
回复 :父亲是一个事业有成家庭和睦的医生，但是大女儿叛逆吸毒，还深爱着她的毒贩男朋友父亲为了让毒贩离开女儿，将其劫持行刑，后来在争执中失手杀了对方。警方因证据不足无法起诉，但女儿已经发现了父亲就是凶手。他们的父女关系将何去何从......
回复 :Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the adult circumstantial adage "there's no sex like marital sex". Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie.
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回复 :官员郑岩离奇死亡，陆寻发现舞女封如月与其兄封空空可疑，而封空空意外失踪。根据线索陆寻和大山、如月来到黑泽城。几人意外救下小糖，不料小糖反将几人劫持。得知封空空也是被小糖所抓，目的就是要炸毁京城。为阻止小糖，几人逃离黑泽城。 陆寻戳穿了如月与封空空杀害郑岩的阴谋。如月坦白自己的亲生父亲遭郑岩陷害而死，陆寻诧异二人与自己经历相同，并表示父亲留下一封密函。两人取密函之时遇到小糖的手下鬼手，鬼手正是如月的父亲。在鬼手的带领下几人通过机关来到地下宝库，找到了小糖和被绑架的封空空。此时夜叉出现，原来夜叉正是陆寻义父云铮。当年云铮为夺取宝库，欺骗小糖。小糖引爆了地下宝库，陆寻等人逃出后与鬼手联手将云铮制服。
